1. Look at the various expressions of grief over King Hamlet’s death in 1. 2. Compare Claudius’ “auspicious eye” and “dropping eye” with Gertrude’s advice to Hamlet to cease seeking his “noble father in the dust,” because “’tis common—all that lives must die,/ Passing through nature to eternity” (11, 71-3). How does Hamlet respond to both Claudius and Gertrude? Why is he so upset?

2. In 1.3.55-81, Polonius sees off Laertes, providing him with rules of conduct while abroad. He sums up his speech with: “This above all, to thine own self be true,/ And it must follow, as the night the day,/ Thou canst not then be false to any man” (78-80). How does Polonius’s advice fit into the greater context of the play, and who if anybody manages to adhere to Polonius’s words of wisdom? Provide examples as you contextualize the Lord Chamberlain’s farewell speech to his son.

3. In Act 1, we encounter the ghost of the late King Hamlet. How is his appearance explained by the various people who sight him? And what do you know about Renaissance culture that would facilitate or influence your own interpretation of the ghost? How does Hamlet interpret the apparition? Is his interpretation different or similar to the ones provided earlier by Marcellus, Bernardo, and Horatio? Why?

4. In 1.4, Hamlet and Horatio overhear (and, perhaps, observe) a celebration headed by and in honor of King Claudius. When asked by Horatio whether this is a Danish custom, Hamlet answers disdainfully that it is indeed a custom, but one “More honored in the breach than the observance”(16). He goes on to explain his sentiment, and, moving gradually from the specific to the general, he eventually philosophizes about the nature of public reputation. Again, contextualize, please. How does “So oft it chances…” bear on the remainder of the play, on our interpretation of individual characters (23-38)?

5. In 2.2.85, Polonius delivers his expert opinion of Hamlet’s state of mind to the eagerly listening King and Queen. “My liege and madam,” he begins, soon getting entangled in his own thoughts and words. While this might further illuminate our interpretation of his “to thine own self”-speech, it also tells us something about the royal couple and their relationship with Prince Hamlet. What are they worried about, and why does it matter whether Hamlet is still in mourning or mad? What’s the plan Polonius devises? Does it work?

6. In 2.2.212ff., Hamlet encounters Guildenstern and Rosencrantz. What is his relationship with them? How does he feel about meeting them? Do you notice a change in his behavior toward them? How does he explain his perception of the world in general, Denmark in particular, and “man” within these two worlds? How do Rosencrantz and Guildenstern respond? Can they be tusted? What is their role, in the context of the play and in the context of the “royal treatment” of Hamlet’s condition, or, rather, the condition that is Hamlet?

7. Later on in 2.2 (350ff.), a group of traveling actors arrives at Elsinore. After a brief—and puzzling—exchange about the various literary genres and the relative value of players, Hamlet asks the players to recite “Aeneas’ tale to Dido” for him, particularly the part when “he speaks of Priam’s slaughter” (408-9). Why do you suppose he picks this particular passage? Describe the scene as well as Hamlet’s and Polonius’s conflicting reactions to the recital.

8. At the end of 2.2, Hamlet’s plan to have the players perform “The Murder of Gonzago” has come to maturation: “The play’s the thing/ Wherein I’ll catch the conscience of the king” (561-62). However, nothing happens for three acts after Hamlet has gained insight into the “conscience of the king” and, supposedly, certainty about his father’s untimely death. Why?

9. Explain Hamlet’s ever-changing behavior toward Ophelia? What’s going on? How do you explain his “Get thee to a nunnery”-speech and his consequent accusations against her and all of womankind—and, perhaps, all of humankind (3.1.56-145)? What’s wrong with the world Hamlet lives in? Why does he get so angry with Ophelia?

10. The play-within-the-play is a common Renaissance trope (a stylistic device often used in Renaissance drama). Can you think of other examples, Renaissance or otherwise, in which this technique is being employed? How does it usually work, and what is its purpose? How does it work in a similar or different manner in Hamlet?

11. In 3.4, Hamlet stabs Polonius to death. Describe the events leading up to this incident as well as the incident itself. What has prompted such a rash action from the often called “indecisive” and “hesitant” Hamlet? How does Polonius’s murder change Hamlet’s relationship to his mother, and, perhaps, to the rest of the court? How do you feel about Hamlet’s action?

12. In 4.1, Hamlet is confronted by Claudius with the murder of Polonius. His answers seem evasive to say the least. What do you make of his responses? Can you sympathize with Claudius’s decision to send Hamlet off to England to have him executed? How about Hamlet’s trick on Rosencrantz and Guildenstern? Do they deserve to die?

13. In 4.4.32-66, Hamlet once more philosophizes about human nature. Compare this speech with the one delivered earlier by him in 2.2 (see in particular, 288-92). What has happened since? How do you explain Hamlet’s change of heart? Is there a change of heart?

14. Hamlet’s encounter with the two clowns, or gravediggers, in 5.1 is one of the most memorable scenes in all Shakespeare. Besides its obviously comic character, what other charms does this scene continue to hold for audiences? And how does the character of Hamlet evolve within this scene?

15. In 5.2, Osric, a courtier, delivers Laertes’s challenge to Hamlet. Once more the comic nature of the scene prevails over the gloominess of the opening acts. Why do you think this is so? Briefly summarize the action, the exchange between Hamlet and Osric, and evaluate Hamlet’s behavior.

16. The ending of Hamlet is often described as one of the bloodiest and most tragic final scenes in all literature. The death count is enormous, the mood sullen, and Horatio’s appeal to the heavens heartbreaking: “Good night, sweet prince,/ And flights of angels sing thee to thy rest” (5.2.338-39). Describe Hamlet’s final minutes, Horatio’s allegiance to his friend, and the arrival of Fortinbras on the stage. Why do you suppose Shakespeare ended his play this way? How are we meant to feel about Hamlet at the moment all actions comes to an end?

17. Take a closer look at the various representations of madness within the play. What are its causes, symptoms, and effects?

18. Take a closer look at the various familial relationships within the play. Are any of them “healthy”? And how do you define “healthy” in your answer?

19. Hamlet is often described as Shakespeare’s most problematic play. Why do you think that is so? And do you agree?

20. What’s your favorite scene, speech, or line in Hamlet? Copy it down, and explain why you like it so much.

21. Discuss Hamlet’s treatment of Rosencrantz and Guildenstern. In what way are they part of a pattern that includes Polonius, Osric, and Gertrude? Analyze the difference between followers of fortune and searchers for wisdom in Hamlet?

22. In what way is Hamlet a typical Renaissance prince? How do his problems and his character serve as a document and introduction to the changes that occurred during the Renaissance? Why is Hamlet’s tragedy more profound if he does not have a tragic flaw but is, in fact, a superb example of the Renaissance man?

23. Hamlet and Macbeth recount similar stories (the usurping of a throne) from differing perspectives—those of perpetrator and avenger. Just as Macbeth is not all bad, Hamlet is not all good. What are some of his faults or short-comings? Do these constitute a "fatal flaw"? Why might Shakespeare have chosen to remain in the "grey area" rather than a more "black and white" depiction of Good and Evil? Compare with Shakespeare's depiction of the protagonists/antagonists in Othello, King Lear, or Macbeth.

24. Once Hamlet has determined that the King is guilty, he must decide whether or not he has a right to kill him. Discuss the various Renaissance responses to this complex question. Why does Hamlet wait so long to kill Claudius? Identify the various reasons for his hesitation? Discuss Hamlet’s supernatural uncertainties and their resolution. Does the play contradict or support any of the theories about the ghost?

25. Ophelia falls into the water accidentally and passively drowns—or does she? Discuss her death as a symbol of her life, her honor, and her relationship with Hamlet.

26. Analyze the treatment of the women in Hamlet. How does Hamlet's perception of his mother affect his behavior or attitude toward Ophelia? (see question 9 as you prepare your answer—why the nunnery?)

27. Hamlet claims that his madness is feigned, an "antic disposition" which he puts on for his own purposes (1.5.172). How can an appearance of insanity help him achieve his ends? Is he really sane throughout the play, or does he ever cross the line into madness? What about Ophelia's mad scene? Is it real or feigned? (Consider her songs as you answer this question.) 

28. Discuss Claudius as the poisoner of Denmark; does he use the same poison in the goblet at the end of the play as he used on Hamlet’s father before the play began? Does it matter?

29. It is possible to say that the other characters in the play are mirrors held up to Hamlet’s nature? Discuss the three-part harmony of approval (Laertes, Horatio, Fortinbras) at the end of the play in this context. Like Hamlet, Laertes and Fortinbras are sons confronted with a father's death. To what extent do they function as foils to Hamlet? What do they have in common? How do they differ? 

30. Compare a few Hamlets, choose from the Olivier, Kline, Gibson, Branagh, and Almereyda versions.

32. Hamlet is a play in which nothing can be taken at face value: appearances are frequently deceptive, and many characters engage in play-acting, spying and pretense. What deliberate attempts are made at deception? While some deceptions are perpetrated in order to conceal secrets, others aim to uncover hidden truths.  Note references to appearances, disguises, pretense, seeming, masks, acting, etc.

32. Marcellus famously declares that "something is rotten in the state of Denmark" (1.4.90). What other natural imagery is used to describe the corruption of the Danish court? What "unnatural" events or behaviors preceded the events recounted in the play? What "unnatural" events or behaviors occur during the play?